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U.S. Energy Secretary Ernest Moniz (in the middle) participates in ribbon-cutting ceremony for Civil Nuclear Cooperation Center at the Czech Technical University, March 26, 2014. More about the visit 1.usa.gov/1iDTRTf
In picture from left: Rector of Czech Technical University Petr Konvalinka, Deputy Education Minister Petr Mlsna, U.S. Energy Secretary Ernest Moniz, Czech President Miloš Zeman, U.S. Ambassador Norman Eisen. Photo ČVUT/Jiří Ryszawy
Ministr energetiky USA Ernest Moniz (uprostřed) se 26. března 2014 zúčastnil slavnostního otevření česko-amerického Střediska pro civilní jadernou spolupráci na ČVUT. Více o náštěvě 1.usa.gov/1iDUDQa (foto ČVUT/Jiří Ryszawy)
Na fotografii zleva: rektor ČVUT Petr Konvalinka, náměstek ministra školství Petr Mlsna, ministr energetiky USA Ernest Moniz, prezident ČR Miloš Zeman a velvyslanec USA Norman Eisen.
September 25's WHO is it Wednesday was a photo of artist Ernest Champion Bradshaw from c. 1955. He was one of the founding members of the Springfield Art Center, today the Springfield Museum of Art (Ohio), which has about a dozen of his works in their permanent collection.
Excerpts from his September 18, 1955 obituary: "Born February 22, 1871, in Rochdale, Lancashire, England, Mr. Bradshaw was the son of John C. Bradshaw, an artist and miniature painter in Queen Victoria's Court. He got his early training in his father's photographic gallery in Douglas, Isle of Man. After a brief stay at King William College, Mr. Bradshaw, then 19, ran away from home. Across the Irish Sea in Manchester, England, one of his three uncles maintained a photographic studio. He went to work there for awhile.
Mr. Bradshaw first came to the United States in 1903. The following year he obtained an original painting which he photographed, carbon printed, etched and produced the ink. This print was said to be the first rotogravure produced in this country.
After several years here, he returned to his native England.
Meanwhile came the first World War, and Mr. Bradshaw entered the Royal Air(Flying) Corps. Aerial warfare and reconnaissance were new-born in that war, but "Brad" got into the thick of it without any delay. He gave instruction to the young fliers and aerial photographers, occasionally taking flights in the fragile craft then being used.
At the end of the war, "Brad" went to India. Sailing from Southampton with but a few cents in his pocket, but with his camera, he became a popular ship photographer by the time the boat reached Bombay. For three years, Mr. Bradshaw strove to establish gravure printing in India, but was hampered by problems of financing. Several trips were made back to England in an effort to raise money. Then in 1921, "Brad" became state artist and photographer to the Maharajah of Alwar.
In 1927, he returned to England to testify in another series of lawsuits over patent rights to the increasingly popular gravure process. He submitted to an ordeal during which he answered 2,721 questions covering the entire association with gravure printing in Lancaster, England, and New York. The legal battle ended with the suits being withdrawn and "Brad's" testimony was a deciding factor.
In 1932, Mr. Bradshaw returned to America and two years later came to Springfield, where he went to work for The Crowell-Collier Publishing Co. as a color separation photographer in the rotogravure department. He stayed there until his retirement in 1952, at the age of 81 years. But retirement from his regular job at Crowell-Collier did not mean retirement from his beloved art work. Up until a few days before his death, Mr. Bradshaw could be found working at his easel in the studio of his home. His exhibits at local art association displays and fairs always drew favorable comment from spectators and art lovers.
While Mr. Bradshaw's life was filled with adventure, it also had pathos. Two sons, his only children, were killed during World War I in England while serving with the Royal Air Force. His only immediate survivor is his 93-year-old widow, Edith, to whom he was married 60 years ago."
This collage shows Mr. Bradshaw celebrating his 83th birthday in February 1954 with his colleagues in the Crowell-Collier cafeteria. L to R: Oscar Mansfield, Floyd Montrose, John Kries, Martin Groeber, Morris Baird, Gus Schnabel, Ernest Bradshaw, Monty Finley, Jack (John) Simpson, and John Bryan. At the top right, the portrait of Mr. Bradshaw was done in 1961 by Roy McAdams, another local artist. It was donated to the SMA in 1974. The bottom painting shows one of Bradshaw's landscapes in the Historical Society's collection.
Photograph of SSgt. Ernest W. Payne of Charlotte, N.C., wearing his full Army kit and hold a rifle, standing on the pallet base of an Army cargo pack on part of the AM-2 aluminum plank matting Army airfield at an unidentified location in South Vietnam during the Vietnam War. He is pictured with a cigarette in his mouth. Payne was serving as Staff Officer (or “S4”) of Headquarters and Headquarters Company, 2nd Battalion, 7th Cavalry, 1st Air Cavalry Division, during the war [circa 1967-1968] [Photograph printed in March 1968].
From Ernest W. Payne Papers, VW 22, Vietnam War Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
"Cet édifice est construit entre 1922 et 1926 selon les plans des architectes Louis-Auguste Amos, Charles J. Saxe et Ernest Cormier. Il s’agit du premier contrat d’importance de ce dernier depuis son retour d’études à Paris. Peu après son décès, en 1980, son nom sera donné à l’édifice afin de marquer l’importance de cet architecte dans la société québécoise. Le projet est lancé en février 1920 lorsque le gouvernement du Québec sanctionne une loi sur la construction d’une deuxième « annexe » au palais de justice de Montréal. Vieux de près de 75 ans, le palais de justice alors en fonction ne suffit plus aux besoins d’une métropole en pleine expansion. De plus, n’étant pas à l’épreuve du feu, il met en péril les précieuses archives judiciaires qui s’y trouvent. Pour la construction du nouvel édifice, le gouvernement exproprie le quadrilatère situé en face du palais de justice, créant ainsi un des plus grands chantiers montréalais de l’époque. Une vingtaine d’immeubles sont détruits. Les travaux débutent en janvier 1922 et se poursuivent jusqu’en 1926. Le nouvel édifice est relié au Vieux palais de justice par un tunnel sous la rue Notre-Dame. À son inauguration, cet édifice compte des cours de justice avec salles d’audience, des dortoirs pour les jurés, des bureaux de ministres et des locaux pour la police et les prisonniers. Des chambres pour les juges et les avocats de la Couronne ainsi que des bureaux d’enregistrement y sont aussi aménagés. En 1972, après la mise en fonction d’un nouveau palais de justice, l'édifice se libère. Les Archives nationales du Québec s’y installent de 1974 à 1987 et les conservatoires de musique et d’art dramatique de 1975 à 2001. À la suite de travaux de restauration effectués entre 2002 et 2005, l’édifice abrite la Cour d’appel du Québec à Montréal." ( www.vieux.montreal.qc.ca/inventaire/fiches/fiche_bat.php?... )
ERNEST DESCALS EN PLENA CONSTRUCCION DE LAS PINTURAS CON INTERIORES DE LOCALES Y ESTABLECIMIENTOS
CAFETERIA CON PERSONAS
PINTORES ACTUALES
El Artista Pintor ERNEST DESCALS trabajando en la soledad de su estudio de Pintor sus pinturas más creativas, cuadros en los que priman los valores de la mas alta creacion plastica.Interiores de bares y cafeteria y figuras en su entorno.
El Artista Pintor ERNEST DESCALS está trabajando mucho tiempo en el interior su Estudio sus pinturas de gran formato, cuadros de altos valores en cuanto a la Creación puramente Plástica, obras de fuerte impacto en las que la sinfonia de manchas gestuales adquiren vida propia sin olvidar otros aspectos puramente pictóricos como las ambientaciones de interiores, las sensacionales atmósferas , el atractivo juego de los espacios, ls figuras en su intereñacion con los demas elementos, las especiales luces, profundidad, perspectiva, entonaciones coloristicas,etc,,,pero sobre todo lo más importante es el factor de alta creatividad que Ernest descals consigue en los cuadros ,oleos, tecnicas mixtas y collages que desarrolla en su propio Estudio de Pintor.Como hemos indicado otras veces, Ernest consigue con estas creaciones muchos destacados Primeros Premios, Premios deHonor, y Menciones también de Honor en gran cantidad de Certámenes de Arte celebrados en toda España.
Ernest Hemingway house, Key West, FL
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Blogged by College Fashion ("Vacation Inspiration: 4 Looks Inspired by Key West" by Ashley - Flagler College - August 8, 2010) at www.collegefashion.net/inspiration/vacation-inspiration-4...
Blogged by The Lit Witch: A Book Blog ("Flickr Book Photo of the Week" - September 15, 2011) at www.thelitwitch.com/?p=5148
east face of Mt Ernest well-charred, with crown-fire in places, after bi-state Border Trail/Mt Barney complex bushfire. Landslide and tree fall risk in heavy rains now falling.
Photograph of several U.S. Army supply soldiers standing around an Army supply truck at an unidentified Army camp in South Vietnam during the Vietnam War. Photograph taken while SSgt. Ernest W. Payne of Charlotte, N.C., was serving as Staff Officer (or “S4”) of Headquarters and Headquarters Company, 2nd Battalion, 7th Cavalry, 1st Air Cavalry Division, during the war [circa 1967-1968].
From Ernest W. Payne Papers, VW 22, Vietnam War Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
The Ernest Hemingway Birthplace in the Frank Lloyd Wright-Prairie School of Architecture Historic District in Oak Park. Hemingway lived here until he was six. Hemingway's father was a physician and his mother was a musician. He was named after his mother's father, Ernest Hall.
ERNEST HEMMINGWAY
B&W print on fibre paper, glossy
14 x 11in. with 0.25 inch border all around
Inscriptions at front:
-two vertical lines in black ink marking the center of the image at bottom and top border (approx. 0.25in. long)
-“(82.0)” indented in the emulsion along the border in the TRC
Inscriptions at back:
“Hemmingway” handwritten in pencil in top center.
“20” handwritten in pencil in top center.
“Copyright Karsh, Ottawa” stamped in bottom center
“No: 2” handwritten in pencil in bottom left quadrant
“Ernest Hemingway” handwritten in pencil in bottom center
Condition:
-0.75in. crease at front, top center (0.25in. from top of subject’s head)
-2 arching creases along bottom edge, center, approx 1.5in. long each.
-BLC worn with a crease running diagonally, limited to white border
-TRC slightly worn and creased, limited to white border.
-Pressure sensitive tape residue in TRC and BRC at back
-Frayed paper marks along back edges from previous adhesive tape removal
Ernest-Louis-Aquilas Christophe
(b Loches, Indre-et-Loire, 15 Jan 1827; d Paris, 14 Jan 1892). French sculptor. He studied under Francois Rude, whom he assisted in the execution of the tomb of Godefroy de Cavaignac (1845-7; Paris, Montmartre Cemetery). In a relatively small number of works, which often took many years to complete, Christophe rendered in sculpture literary conceits usually derived from contemporary poets. In his turn he provided subjects for Le Masque and Danse macabre from Charles Baudelaire's Fleurs du mal, the former being inspired by Christophe's allegorical statue The Human Comedy or The Mask (c. 1859; marble, exh. Salon 1876; Paris, Mus. d'Orsay). The effect of this statue changes according to viewpoint, a smiling mask concealing from certain angles the figure's own anguished head. It was followed by a more conventional piece, Fate (bronze; Bagneres-de-Luchon, Jard. Pub.), first conceived around 1875 and exhibited at the Salon of 1890; this anachronistic-looking allegory, whose iconography was taken from verses by Charles-Marie-Rene Leconte de Lisle, was intended as a reflection on Darwin's theory of evolution. Christophe's last work, The Sphinx or The Supreme Kiss (marble; Le Mans, Mus. B.-A.), exhibited posthumously at the Salon of 1892, shows a young man in a terminal embrace with a sphinx or chimera. Christophe's own grave in the Batignolles Cemetery is marked by a reduced version of his massive figure of Grief, which had been shown at the Paris Exposition Universelle of 1855.
Ernest Beaumont Schoedsack (June 8, 1893 - December 23, 1979) was an American motion picture cinematographer, director, and producer. Born in Council Bluffs, Iowa, Schoedsack is probably best remembered for being the co-director of the 1933 film, King Kong.
Schoedsack was fascinated with the mechanics of film photography long before taking his first movie job with the Keystone Studios in 1914. During World War I, he worked as a Signal Corps cameraman, and after the Armistice he worked on behalf of Polish war relief, helping thousand of Poles escape the Russian occupied territories. While in Ukraine in 1920 he met Captain Merian C. Cooper, who, like Schoedsack, was a fervent anti-Bolshevik and also an aspiring film director. The men renewed their friendship after the hostilities, collaborating on several documentary films, Grass (1925) and Chang (1927). Still in partnership with Cooper, Schoedsack co-directed the fictional adventure film The Four Feathers (1929), then, after another documentary, the Cooper-Schoedsack team helmed RKO's The Most Dangerous Game (1932), which featured Four Feathers leading lady Fay Wray.
Concurrently with Game, Schoedsack, Cooper, and O'Brien launched their most ambitious project to date: King Kong (1933), also with Wray. Ruth Rose, Schoedsack's wife and an adventure lover in her own right, collaborated on the Kong screenplay.
When Merian Cooper assumed leadership of RKO Radio, he took Schoedsack with him as a contract director. Some of Schoedsack's projects were sedate domestic comedies like Long Lost Father (1934), while others were along the spectacular lines of The Last Days of Pompeii (1936).
Schoedsack and Cooper parted ways in the late 30s, Schoedsack moving to Paramount, where he returned to the live action/miniature combo that had served him well on Kong for his first Technicolor production, Dr. Cyclops (1940).
His eyesight was severely damaged in World War II, yet he continued to direct films afterwards. He directed Mighty Joe Young at RKO in 1949, which was a reunion film of the main King Kong creative team (Cooper, Rose, and O'Brien). Still on the cutting edge of technological advances in the 1950s, Schoedsack directed the in-your-face prologue of the 1952 box-office hit This is Cinerama.
He and Rose are interred together at Westwood Village Memorial Park Cemetery in Los Angeles, California.
-wikipedia
Two new editions to the fleet. Had stickers put on but will be painted in the metallic green and red.
Huset ble bygget i 1851 av kapten Asa Tift, og er orkansikkert. Hemingway levde her fra 1931 til 1940 med sin andre kone Pauline Pfeiffer.
Photograph of SSgt. Ernest W. Payne of Charlotte, N.C. (center, facing camera), standing next to an Army jeep parked on an AM-2 aluminum plank matting Army airfield at an unidentified location in South Vietnam during the Vietnam War. He is pictured with a cigarette in his mouth, and wearing his full Army kit. Payne was serving as Staff Officer (or “S4”) of Headquarters and Headquarters Company, 2nd Battalion, 7th Cavalry, 1st Air Cavalry Division, during the war [circa 1967-1968] [Photograph printed in March 1968].
From Ernest W. Payne Papers, VW 22, Vietnam War Papers, Military Collection, State Archives of North Carolina, Raleigh, N.C.
This is Ernest Rosser, who has a well known Dodge Dart wrapped to commemorate the Tuskegee Airmen. He takes his car around the Midwest to various car shows to honor the airmen, of which a fishing buddy of his was a good friend. He has a hole in his voice-box now, hence the position of his hand, so it's not easy for him to speak, but he did tell me he was planning to donate his car to a museum in the near future.
This picture is number sixteen in my "100 strangers" project. find out more about the project and see pictures taken by other photographers at 100 strangers
ALALU-ANUNNAKI-ASTRONAUTA-NIBIRU-TRAJE-ESPACIAL-ESCAMAS-PEZ-PINTURA-PINTOR-ERNEST DESCALS-
Antiguos Astronautas del Planeta Nibiru en la lejana Historia del Planeta Tierra. Los ANUNNAKI y su influencia en la Historia de la Humanidad. Traje Espacial de escamas como el Pez y Casco de Aguila para explorar el mundo submarino y la tierra firme. Coleccion de Pintura del artista Pintor ERNEST DESCALS sobre los Alienígenas que nos visitaron y que intervinieron en la Creación del Hombre Actual.
Para ver más por favor visiten nuestro Blog
ernestdescals.blogspot.com.es/
ANCIENT ASTRONAUTS OF NIBIRU PLANET. ANUNNAKI IN HISTORY HUMANITY.. FOR READ MORE PLEASE VISIT OUR WEB
ernestdescals.blogspot.com.es/
OTHER LINKS ERNEST DESCALS ARTIST PAINTER:
www.facebook.com/pages/ERNEST-DESCALS-ARTISTA-PINTOR/8132...
cuadrosernestdescals.blogspot.com/
PISCINA-MANRESA-PISCINAS-NATACION-JUEGOS-DEPORTES-VERANO-FOTOS-NADADORES-CALOR-AGUA-ERNEST DESCALS-
Las Piscinas son un certero remedio para la Calor del Verano, estos dias de Agosto está dubiendo mucho la Temperatura en los Termómetros, pero absolutamente incomparable con el Placer de entrar en el inmenso Mar que lleva los Recuerdos y los Registros de la más lejana época. Estas son Fotos en la Piscina de Manresa, ages, Barcelona, Catalunya, Cataluña, España.Horas tardías en las que el Sol ha empezado su declive visual, momento ideal para jugar con el Agua que acaricia con sus suaves movimientos. Pronto conoceré de nuevo lo que esconde bajo el misterioso manto líquido que bordea nuestras Playas, mientras tanto nos queda la Piscina.Dicen los sabios y teóricos de la Evolución humana que procedemos de los peces, no lo sé seguro pero tampoco me preocupa, lo único que deseo és volver a la Cuna Primigénia de todos los Seres Vivos y aspirar a través de la piel lo que las Aguas de los Mares producen en su regalo para el que quiera, pueda y sepa aprovechar.Curiosa comparación en la imágen fotográfica, diferencia de olas las que se producen en los espacios delimitados , Siempre prefiero los baños y la Natación en el espacio Libre y acogedor que se encuentra en cualquier Playa, Aguas Vivas en contraste con Aguas que se mueren enlatadas entre baldosas. El Pintor ERNEST DESCALS en la armonia de Refrescar su acalorado Cuerpo y su hervida Mente en la Piscina.
Architects and designers Ernest Gimson and Ernest and Sidney Barnsley moved to the south Cotswolds in 1893.
Group photograph taken about 1895 taken outside Gimson's cottage at Pinbury near Sapperton. From left to right: Sidney Barnsley, Lucy Morley, Ernest Gimson, Ernest Barnsley and his wife, their two daugthers Mary and Ethel. From Cheltenham Art Gallery & Museum's archive collection.
TARRAGONA-PLAYAS-PERROS-CARIÑO-MODELOS-AGRADECIDOS-FOTOS-VIAJES-ERNEST DESCALS-
Cuatro seres vivos en comunión, los tres perros en la playa de Tarragona y el Pintor Viajero Ernest Descals.Momentos de goce y reparto de cariño con modelos agradecidos.Fotos viajeras en las que tomar el Sol y disfrutar de la compañia.Diciembre 2011.
TARRAGONA BEACH.PHOTO OF TRAVEL PAINTER ERNEST DESCALS.TRAVELS WITH DOGS.HAPPY MODELS.
My great grandfather, Ernest LeSuer- Oil City PA area. Notice that the bells on the harness to the carriage are of different sizes for different tones. My mother relates a funny story about a time that on an icy day during his deliveries he lost his footing on a hill and slid down a hill, hit the door of the house below, knocked the door open and wound up in the kitchen of the home he was delivering to- at the feet of his customer! His lineage is below. (Photo from 1905-1911- my mother relates that his route was rural Erie)
(From a history written by Meredith Jenkins, long time McKean area resident 1939-41)
Mary Agnes Jenkins was born in a log cabin in Franklin Township, Erie County, Pennsylvania on July 19, 1863. She was the daughter of John C. and Rozillar Jenkins. Mary attended the Foy school and in 1880 went to the Waterford Academy for one term. She worked on the farm and in the house as an all a round helper. On April 19, 1885 she was married to Ernest S. LeSuer of Franklin Township, Erie County, Pennsylvania. To them were born two sons Elmer Allen and Floyd Emerson. Agnes and family moved to Oil City, Pennsylvania in 1905 and from there to Alabama in 1911. A year later they returned to Pennsylvania and now live at McLane, Pennsylvania. Agnes united with the Christian Advent Church in 1891 and is still a member. With the exception of seven or eight years, she has lived within five miles of where she was born.
Elmer Allen LeSuer, son of Agnes and Ernest LeSuer, was born in McKean, Pennsylvania on December 2, 1886. He received a fair education, took a correspondence course in drafting from the Seranton Correspondence School. Elmer got a job as a draftsman in a machine shop in Oil City. He was married on March 25, 1909 to Miss Emma Wise of Oil City, Pennsylvania. He went to Detroit, Michigan in 1910 and worked for the Ford Motor Company. He worked here until 1919 and then came back to Pennsylvania and tried farming for a few until ill health overtook him. He was employed by some Erie firms as a draftsman, and was called back to Detroit in 1936 where he now resides. Elmer and Emma were blessed with five children. Elmer Allen Jr., Hazel Virginia, Roger Frederick, Marjorie Eileen (my mother), Robert Blaine.
(From a family history written by Meredith Jenkins, Agnes' brother, about 1940.)